DC’s Superman is one of the most anticipated movies of 2025, and with just days to its worldwide release, brands are jumping on the bandwagon to capture the attention of a diverse audience set to show up for the movie. With limited spots available, there’s still a chance for your brand to book your spot. Download our Big Screen Brief to know the reasons to advertise alongside Superman.
With that said, most of us only know Superman from DC. The question is: what’s coming next after Superman? James Gunn and Peter Safran have been rebuilding the DC Universe with a massive multi-chapter plan, starting with “Chapter One: Gods and Monsters” – a coherent, hopeful slate that “highlight love, compassion, and the innate goodness of the human spirit.”
The first domino falls this July with Superman, which Gunn calls “the true foundation of our creative vision.” But that’s just the beginning. Here’s your complete guide to every confirmed DCU film coming to theaters with all the juicy details we know so far. If you’re curious about the upcoming DCU movies, keep reading.
This is where it all begins. Superman isn’t just another Superman movie – it’s the cornerstone that everything else will build upon. James Gunn is directing this one himself, and he’s made it clear that this film will set the tone for the entire new DCU. Expect a younger Superman in a world that’s already populated with heroes, marking a fresh start that promises to be both familiar and completely new.
Starring: Milly Alcock as Kara Zor-El
Director: Craig Gillespie
Speaking of that world full of heroes, Superman won’t be the only Kryptonian around for long. House of the Dragon’s Milly Alcock steps into the cape for what DC is calling a “science fiction adventure” that promises an unexpectedly different take on Kara Zor-El. Based on Tom King’s acclaimed graphic novel, this isn’t your typical Supergirl story.
Here’s the twist: while Superman was raised on Earth, Kara grew up on a Kryptonian chip in space, creating a much grittier character than we’ve seen before. And get this – Jason Momoa makes his DCU debut as Lobo, the intergalactic bounty hunter. Craig Gillespie (the genius behind I, Tonya) is directing, and production was already halfway complete by early 2025, so this one’s definitely happening.
Writer: Mike Flanagan
In a bold move, DC is giving the shape-shifting Batman villain his very own movie. Mike Flanagan, the master of psychological horror behind Doctor Sleep and The Haunting of Hill House, is crafting the script for what will be the DCU’s first villain-centric film.
While plot details are still under wraps (and no director or cast has been announced), imagine what Flanagan could do with a character who can literally become anyone or anything. This could be the horror-superhero crossover we never knew we needed in the lineup of upcoming DCU movies.
Focus: Batman and Robin (Damian Wayne)
Where there’s a Batman villain, Batman himself can’t be far behind. This “unusual father-son story” will introduce an entirely new DCU Batman alongside Damian Wayne as Robin. Inspired by Grant Morrison’s comics, the film centers on Bruce Wayne discovering he has a son – and it’s going to be, in Gunn’s words, “very strange.”
Important note: this is completely separate from Matt Reeves’ Batman films, which exist in their own continuity. No release date or casting announced yet, but this promises to explore the Dark Knight from a completely fresh angle.
This version of Batman exists separately from Matt Reeves’ ongoing “Elseworlds” trilogy starring Robert Pattinson.
Director: James Mangold
The final film of Chapter One takes us into gothic horror territory. Logan director James Mangold is attached to direct this investigation into the “dark origins of Swamp Thing.”
While Gunn admits the project is “far from going” and they’ve only discussed it occasionally, having Mangold involved suggests they’re serious about making this something special. No cast or schedule has been revealed yet, but it remains one of the most intriguing upcoming DCU movies.
Focus: WildStorm superhero team
Here’s where things get really interesting. The Authority brings WildStorm’s brutal superhero team into the DCU – think The Boys (Amazon Prime Video), but actually part of the main universe. These are heroes who “take matters into their own hands to do what they believe is right” when government agencies aren’t enough.
The Engineer will first appear in Superman, setting up this team’s origin story. No release date, director, or cast announced, but this could be the edgiest film in the entire slate.
Writer: Ana Nogueira
From one team to another, but with a completely different vibe. The beloved young superhero team is getting the live-action treatment as the sixth team-up film in the DCU slate. Ana Nogueira (who also wrote Supergirl: Woman of Tomorrow) is handling the script, and reports suggest the core lineup – Robin, Cyborg, Starfire, Raven, and Beast Boy – will all feature.
Beyond that, details are still under wraps, but fans have been waiting years for a proper live-action Titans movie. It’s one of the most anticipated upcoming DCU movies for younger audiences.
Starring: Colin Farrell
DC’s World War II infantryman is getting his own movie, proving this universe isn’t just about people in capes. The project hit a brief snag when original star Daniel Craig departed in early 2025, but Colin Farrell (fresh off his acclaimed turn in The Penguin) has stepped in as the new lead.
How exactly a WWII soldier fits into a superhero universe remains to be seen, but that’s part of what makes this reboot so intriguing.
Writer: Matthew Orton
Perhaps the most unusual entry on the slate: a villain team-up movie pairing two of DC’s most formidable anti-heroes. The Hollywood Reporter revealed this project in September 2024, promising to explore the “unusual dynamic” between these two characters.
Moon Knight writer Matthew Orton is crafting the script, but beyond that, everything is still a mystery. Could be a twisted buddy cop movie, could be something completely different.
Status: Script in development
A new Wonder Woman film is confirmed for the DCU, but don’t expect Gal Gadot to return. James Gunn has confirmed the movie is “being written right now,” and WBD leadership considers Wonder Woman one of their “big asset builders” for the next decade.
This will be a complete reboot with new casting, but official details about director, cast, or plot are still minimal. Still, it remains a key part of the studio’s plan for upcoming DCU movies.
All of these films are part of Gunn and Safran’s unified vision for Chapter One: Gods and Monsters. Unlike the previous fragmented approach, this is designed as a single, interconnected continuity with consistent characters and themes building toward a larger six-year plan.
The goal is ambitious: create a hopeful, character-driven saga that introduces us to “a younger Superman in a world full of heroes” while weaving together cohesive stories that will also connect to new Max/DC Universe TV shows.
Will it work? Superman this July will give us our first real taste of whether this new DCU can deliver on its promises. But if the early signs are any indication, DC might finally have a plan that can give Marvel some serious competition.
Sources: DC.com, The Direct, Rotten Tomatoes, Games Radar, Screen Rant
A report from the SAWA-hosted session on the power of big screen storytelling at Cannes Lions 2025
When filmmaker Gurinder Chadha OBE stepped onto the Cannes Lions stage alongside SAWA President Katharine Jacob OBE, she brought with her a powerful statistic that would define their 30-minute conversation. Since the release of Bend It Like Beckham in 2002, female football registrations in the UK have exploded from 50,000 to over 800,000.
“That’s not just entertainment,” Chadha said during the session titled “Changing Minds: Shift Global Perspectives Through Big-Screen Storytelling.” “That’s cinema changing the world.”
For Chadha, who grew up “yearning to see people who looked like me on screen center stage, as opposed to on the margins,” cinema represents something profound: the ability to reshape how entire societies think and feel. But what makes the big screen uniquely powerful isn’t just the stories it tells—it’s how those stories are experienced.
“Seeing a film in a collective space is that reminder of the universality of emotions and who we are,” Chadha observed. This shared viewing experience, where diverse audiences come together in a single space, creates a unique opportunity for perspective-shifting that other media simply cannot replicate.
Jacob, drawing on her extensive background in cinema advertising, reinforced this point by highlighting how the big screen environment amplifies every message. When stories reach audiences in this immersive, collective setting, they don’t just reflect culture—they actively create it.
Central to Chadha’s approach is a sophisticated understanding of audience psychology that has direct relevance for anyone crafting messages for the big screen. “I always start with the perspective of the audience,” she explained. “What is the audience thinking? How am I going to shift their opinions? I know what you’re expecting, and then I change it, and I shift it.”
This technique of meeting audiences where they are before challenging their assumptions proved transformative for Bend It Like Beckham. Rather than depicting the typical “immigrant rebellion” narrative, Chadha showed a supportive Sikh family encouraging their daughter’s dreams. By subverting expectations, she normalized what audiences initially saw as foreign or different.
“My job is to reach out to your heart, to help you feel heard, feel alive and make you rethink what is around you,” Chadha said, articulating a mission that extends far beyond entertainment.
Chadha’s insights proved particularly relevant when the conversation turned to today’s fragmented media landscape. In an era where audiences can skip, scroll, or click away in seconds, the challenge for all content creators—whether filmmakers or advertisers—has intensified.
“Our job as creatives is even harder now,” Chadha noted. “We need to surprise the audience.” For advertising specifically, she emphasized the need for “a twist in there to stop people’s [skipping] and go, ‘Oh, I love this.'”
The parallel between effective filmmaking and effective advertising became clear: both require authentic storytelling that connects emotionally while challenging preconceptions. Both benefit from the unique power of the cinema environment to create shared, immersive experiences.
Throughout the session, both speakers emphasized that authentic representation isn’t merely a moral imperative—it’s strategic storytelling. When audiences see themselves reflected authentically in stories, they feel “heard” and become more receptive to the messages being conveyed.
For Chadha, this representation serves a larger purpose: “Cinema allows you to change the world.” By “bringing you into the home” of cultures unlike your own, cinema builds empathy and understanding across differences. Professional athletes have credited her films with inspiring their careers, demonstrating how big-screen storytelling can create real-world change.
The session, part of Cannes Lions’ Changemakers track, underscored a crucial point for anyone working in advertising: the medium shapes the message. The cinema environment—with its scale, immersion, and collective viewing experience—amplifies the impact of every story told there.
As Jacob and Chadha’s conversation revealed, cinema’s power lies not just in its ability to entertain, but in its capacity to shift perspectives, challenge assumptions, and inspire action. For brands and storytellers alike, the big screen offers something increasingly rare in our fragmented media world: the chance to create shared experiences that genuinely change how people think and feel.
Chadha left a lasting note on cinema’s power to shape the world—an enduring reminder that messages on the big screen carry both influence and the ability to change perspectives.
This session was hosted by SAWA (the global cinema advertising association) at Cannes Lions Festival of Creativity 2025. SAWA represents cinema advertising companies worldwide, including Motivate Val Morgan in the Middle East.
Summer Box Office 2025 data reveals cinema set to dominate GCC marketing landscape with record-breaking audience numbers and premium engagement.
Cinema endures as the most popular form of ‘away from home’ entertainment, providing scale and engagement in a brand-safe environment for advertisers. As the summer heat builds across the region, movie theaters are emerging as the “coolest” destination for both audiences and smart marketers.
The early indicators for summer 2025 are nothing short of spectacular. Mission Impossible UAE 2025 opening reached an impressive $3.6 million, securing the region’s position among the top 10 global markets and claiming the number one position locally.
Globally, the weekend of May 22-25 delivered extraordinary results. Disney’s Lilo & Stitch and Paramount’s Mission: Impossible – The Final Reckoning combined for a remarkable $545.7 million worldwide opening, setting the stage for an exceptional summer season. The momentum continued through their third week, with both films maintaining strong holds and adding an estimated $677 million globally, bringing their combined three-week total to approximately $1.22 billion – proving that quality content sustains audience engagement well beyond opening weekend.
The success extends beyond standard screenings. IMAX delivered franchise-best numbers for Mission: Impossible with $53.2 million globally through three weeks, while Lilo & Stitch drew families to premium large format presentations. This reinforces growing audience preference for enhanced experiences, with 77% of moviegoers now favoring IMAX, Dolby and other PLF Cinema formats according to the Fandango Moviegoing Trends & Insights Study Spring 2025 .
The reasons behind summer’s dominance are crystal clear in the latest consumer insights. According to the Fandango, an overwhelming 83% of all moviegoers are planning to beat the summer heat by heading to the theater. But it’s not just about escaping the heat—audiences are actively seeking diverse experiences, with 78% interested in seeing a variety of movie genres in theaters over the summer—up from 68% in the previous year, showing a growing interest in moviegoers actively wanting to diversify their cinematic experiences.
The appetite runs deep. 66% of all moviegoers are planning to see four or more movies in theaters across the upcoming summer period — with the numbers rising to 69% among Gen Z. This proves that it isn’t casual entertainment consumption; it’s committed engagement with the in-cinema medium.
Fandango Moviegoing Trends & Insights Study Spring 2025 findings are based on extensive research encompassing more than 5,000 moviegoer responses from primary North American markets, with trends reflecting broader international cinema consumption behaviors.
The summer lineup reads like a marketer’s dream slate of audience magnets, spanning blockbuster franchises, beloved reboots, and regional favorites:
Download our Q3 2025 ScreenTalk Movie Planner for the full list of movies releasing this summer and throughout Q3 2025.
With this exceptional lineup, premium audience engagement, and record-breaking early performance, summer 2025 is shaping up to deliver unprecedented opportunities for advertisers to connect with captivated audiences in the most immersive advertising environment available.
Looking beyond summer into the broader landscape of 2025, the theatrical pipeline has never been stronger. Hollywood Studios are unveiling roughly 110 movies this year, at least 15 more than they did in 2024—the highest number since 2020 and a 16% increase from the previous year, according to the National Association of Theatre Owners. For this region adding this with the ever-rising popularity of Arabic films and Asian movies and absence of any big sports event makes 2025 as the best year for cinema.
Summer Box Office 2025 delivers unprecedented opportunities with 83% of moviegoers heading to theaters, creating the largest captive audience for brand-safe advertising in the region.
Mission Impossible ($3.6M regional opening) and Disney’s Lilo & Stitch are the primary drivers, with their combined three-week $10.8 million performance.
Mission Impossible UAE 2025 opening reached an impressive $3.6 million, securing the region’s position among the top 10 global markets and highlighting the Middle East’s growing cinema influence.
The weekend of May 22-25, 2025, delivered a spectacular reminder of cinema’s enduring power. Disney’s Lilo & Stitch and Paramount’s Mission: Impossible – The Final Reckoning combined for an extraordinary $545.7 million global opening, setting the stage for an exceptional summer season.
Lilo & Stitch surfed to a remarkable $341.7 million global debut, claiming the third-highest Disney Live Action opening weekend ever—trailing only to The Lion King and Beauty and the Beast. The film’s success story extends far beyond traditional expectations, with the $100 million production—originally destined for Disney+ before receiving a theatrical upgrade.
What makes this performance particularly impressive is the film’s demographic reach. According to THR, rather than relying solely on families, Lilo & Stitch captured 60% of its domestic audience from non-parent demographics, driven largely by Gen Z and millennial women who grew up with the 2002 animated original. This cross-generational appeal translated into robust international numbers, with $158.7 million from overseas markets, including dominant performances in Mexico, the UK, and Brazil.
Tom Cruise continues to defy both gravity and industry expectations with Mission: Impossible – The Final Reckoning launching to $204 million worldwide. The eighth installment in the franchise achieved series-best numbers globally, collecting $127 million overseas alongside strong domestic performance, surpassing previous franchise record-holder Mission: Impossible – Fallout.
Early audience reception has been positive, with an A- CinemaScore and strong critical reviews praising the film’s practical stunts and emotional storytelling.
The Middle East emerged as a crucial contributor to both films’ success. The UAE ranked among the top 10 markets for Mission: Impossible, with the Tom Cruise vehicle claiming the number one position in the region. Meanwhile, Lilo & Stitch demonstrated strong family appeal across Gulf markets, contributing significantly to Disney’s international haul.
This regional performance underscores the Middle East’s growing importance in the global cinema ecosystem. With the regional market projected to reach $3.44 billion by 2033, driven by young demographics and expanding urban centers, the weekend’s results demonstrate audiences’ appetite for premium theatrical experiences and blockbuster content across all genres.
Both films benefited from premium large format presentations, with IMAX delivering franchise-best numbers for Mission: Impossible ($31M) while Lilo & Stitch attracted families to premium screens. This trend reinforces the industry’s strategic pivot toward enhanced experiences that differentiate theatrical viewing from home streaming.
For cinema advertisers, this weekend demonstrated the power of diverse audience appeal. The success across demographics—from nostalgic millennials to action enthusiasts—created multiple engagement touchpoints. Lilo & Stitch’s family-plus-adult appeal and Mission: Impossible’s premium audience proved cinema’s unique ability to deliver both mass reach and targeted demographics in a captive, premium environment.
The weekend’s triumph establishes momentum for what industry analysts predict could be the most robust summer season since before the pandemic. The upcoming slate includes:
The combination of franchise filmmaking, premium experiences, and global appeal demonstrates that when Hollywood delivers quality content, audiences respond enthusiastically across all markets. Both films proved that theatrical experiences remain irreplaceable—whether through nostalgic emotional connections or breathtaking practical stunts.
The message is clear: cinema remains irreplaceable, and summer 2025 is positioned to be one for the record books, offering unprecedented opportunities for both exhibitors and advertisers to connect with engaged global audiences.
Sources: Deadline, Box Office Mojo, The Hollywood Reporter
VOX Cinemas has launched ‘Fall in Love with Film,’ a comprehensive brand campaign featuring an exclusive original score by two-time Academy Award winner Hans Zimmer. The initiative represents a strategic evolution in experiential marketing, positioning the cinema chain’s emotional connection with audiences at the center of its brand narrative.
The partnership with Zimmer marks a significant investment in brand differentiation for VOX Cinemas, which has operated across the Middle East for 25 years. The composer’s score blends traditional Arabic instruments with Hollywood orchestration, creating what he describes as “a sound that was cinematic at its core, but unmistakably VOX.”
Zimmer’s involvement extends beyond a typical commercial collaboration. “VOX has truly pioneered the cinema experience in the Middle East—a region that is very close to my heart—and I wanted to reflect the role they’ve played in shaping people’s most cherished memories,” Zimmer stated.
The campaign’s execution demonstrates a sophisticated understanding of touchpoint marketing. Beyond screening the brand film in cinemas across the region, VOX has integrated Zimmer’s score throughout the entire customer experience—from lobby atmospheres to customer service calls. This multi-sensory approach creates consistent brand reinforcement at every interaction point.
“The true heart of our story is our customers. For years, they’ve trusted VOX as the place where memories are made—where laughter, love, and even quiet reflection come to life,” said Ignace Lahoud, CEO of Majid Al Futtaim – Entertainment. “This brand video is a tribute to that relationship.”
The campaign rollout spans eight regional markets: UAE, Saudi Arabia, Kuwait, Bahrain, Egypt, Oman, Qatar, and Lebanon. VOX has developed localized versions in English, Gulf Arabic, Egyptian Arabic, and Saudi dialect, ensuring cultural relevance across diverse audiences while maintaining campaign cohesion.
‘Fall in Love with Film’ positions VOX Cinemas as more than an entertainment venue—it establishes the brand as a cultural institution integral to personal milestones and shared experiences. The campaign narrative follows generational connections to cinema, emphasizing VOX’s role in creating lasting memories across families and communities.
This strategic positioning differentiates VOX in an increasingly competitive entertainment landscape, where traditional cinema competes with streaming services and digital entertainment options. By emphasizing emotional connection and premium experiences, VOX strengthens its value proposition for both consumers and advertising partners.
The integration of world-class artistic collaborations into cinema branding represents an emerging trend in experiential marketing. Such initiatives demonstrate how premium content partnerships can enhance the overall cinema environment, creating elevated experiences that benefit both audiences and advertising partners alike.
As the entertainment industry continues to evolve, campaigns like ‘Fall in Love with Film’ showcase the potential for cinema operators to leverage artistic partnerships in strengthening their cultural relevance and market positioning.
Source: VOX Press Release
UAE creative talent shines as ten professionals join the Cannes Lions 2025 Shortlisting Jury, cementing the nation’s growing influence on global creativity
Cannes Lions has announced the panel of ten shortlisting jury members from the UAE who will participate in the initial judging phase for this year’s Cannes Lions awards, set to take place in Cannes, France, from June 16-20, 2025.
This announcement follows the earlier revelation of sixteen awarding jury members from the UAE, bringing the total representation to a record twenty-six professionals from the Emirates who will contribute to setting the global benchmark for creative excellence at this year’s Festival.
These ten shortlisting jurors will join experts from across 79 markets, representing the global industry’s leading talent from a diverse range of disciplines, with markets including Azerbaijan, Bosnia and Herzegovina, Iceland, and Mongolia represented on the Shortlisting Jury for the first time.
Simon Cook, CEO, LIONS, said: “All our Jurors play a crucial role in shaping the work awarded at Cannes Lions. This year, we are seeing an unprecedented level of global engagement from deserving talent, with more markets, more voices, and more perspectives coming together to recognise the global benchmark. I’d like to extend my gratitude for their hard work and care in curating the work that will go on to set the global standard and make history.”
Regarding the UAE representation, Ian Fairservice, Managing Partner of Motivate Media Group, and CEO of Motivate Val Morgan said: “The selection of shortlisting jury members from the UAE, contributing to our record total representation across both juries this year, marks a significant milestone for our creative community. The incremental representation each year reflects the maturity of our creative industry and its increasing recognition internationally. I am sure these talented individuals will bring their unique perspectives to the judging process, ensuring the UAE’s voice helps shape global creative standards.”
Brand Experience & Activation: Sarah Berro | Head of Creative, Vice Media, MEA
Creative Strategy: Catherine Bannister | Chief Strategy Officer, TBWA RAAD, MENA
Direct: Martino Caliendo | Associate Creative Director, Impact BBDO, UAE
Film Craft: Nayla Chacra | Head of Post Production and Executive Producer, Prodigious, Global
Media: Lara Arbid | CEO, Initiative and Magna Global, MENAT
Media: Daniel Shepherd | Group Chief Strategy Officer, Omnicom Media Group, MENA
Outdoor: Michele De iuliis | Associate Creative Director, Havas Middle East, United Arab Emirates
PR: Peter Jacob | Managing Director, MENAT, Current Global, MENAT
Social & Creator: Estelle Khayat | Associate Strategy Director, Leo, MENA
Social & Creator: Mohammed Ajawi | Director of Digital Experience, Ogilvy, UAE
Further information on this year’s Festival and the Lions Awards can be found at visit www.canneslions.com.
Motivate Media Group and Motivate Val Morgan are the official representatives of the Cannes Lions International Festival of Creativity in the UAE.
Source: Cannes Lions Press Release
The horror movies 2025 calendar for the second half of the year delivers reboots, chilling originals, and the return of fan-favorite franchises
2025’s opening act has been rather anemic for horror devotees craving their theatrical fix—a stark contrast to the genre’s last years box office rulings. The early months delivered only a handful of offerings: James Wan’s The Monkey, gaming’s crossover Until Dawn, Indonesia’s atmospheric Dark Nuns, Blumhouse’s Drop, the terrifier-ish slasher movie Popoyee: The Slayer Man, and the critically acclaimed Companion.
Yet, one film—Ryan Coogler’s Sinners—has been methodically dismantling box office records, securing its position as the rare horror film that can pay its way in Hollywood’s increasingly risk-averse landscape. The film’s third-week hold is nothing short of supernatural, achieving the highest collection for any horror title at that point in its run—a feat that demands respect even from those who prefer their scares served with a side of critical acclaim.
But here’s where the 2025 Horror movies calander truly blossoms. The second half of 2025 unfolds like a masterclass in atmospheric tension, with each release building upon the last in a carefully orchestrated symphony of scares. Leading the charge is the resurrection of Final Destination. What follows is a veritable buffet of dread: exorcisms and haunted relics that resurrect ancient evils, folk horror rooted in grief and rituals gone wrong, slashers making nostalgic comebacks, and creature features where nature fights back—usually with fangs. Techno-horrors explore our unease with artificial intelligence, while psychological thrillers dig deep into fractured relationships and moral collapse. Toss in a few post-apocalyptic outbreaks and cursed phone lines, and you’ve got a horror calendar that doesn’t just aim to scare—it wants to reflect the chaos of the times we’re living in. The year may have started with a slow-burning dread of its own, but by December, we’ll all be checking our closets and maybe, just maybe, sleeping with the lights on.
Here’s a look at the horror movies set to grace the remainder of 2025:
Sub-Genre: Supernatural/Franchise Horror
Release Date: 15 May, 2025
The death-defying franchise returns with a twisted family-centric story, as fate targets the descendants of past survivors—because apparently, death holds a grudge.
Sub-Genre: Possession/Emotional Horror
Release Date: 29 May, 2025
Directed by the breakout duo behind Talk to Me, this grief-soaked nightmare promises raw emotion, brutal tension, and a chilling descent into the afterlife’s darkest corners.
Sub-Genre: Post-Apocalyptic/Infected Horror
Release Date: 19 June,2025
Danny Boyle returns to the franchise he helped define, with 28 Years Later set to unleash a new generation of rage and redefine modern horror all over again.
Sub-Genre: Tech Horror
Release Date: 26 June,2025
Is she still a menace or now a misunderstood machine? The sequel blurs the line between horror and sci-fi action, as M3GAN upgrades—morally and mechanically.
Sub-Genre: Slasher/Requel
Release Date: 17 July 2025
The ‘90s slasher staple gets a modern revamp, reuniting original cast members with a new generation caught in the killer’s hook-line trap.
Sub-Genre: Psychological Horror/Relationship Thriller
Release Date: 30 July, 2025
A twisted tale of love, obsession, and unraveling minds, this original horror entry explores what happens when codependency turns truly monstrous.
Sub-Genre: Supernatural/Exorcism Horror
Release Date: 4 September, 2025
The Warrens return for one final case in this climactic chapter of the Conjuring universe, promising a farewell soaked in holy water and pure dread.
Sub-Genre: Psychological/Supernatural Horror
Release Date: 18 September 2025
Jordan Peele’s involvement guarantees a deep psychological thriller that’s bound to haunt you long after the credits roll.
Sub-Genre: Torture/Slasher Horror
Release Date: September 27, 2025
The legacy of Jigsaw continues with a fresh set of traps and moral tests, proving once again that the game is far from over.
Sub-Genre: Supernatural/Thriller
Release Date: 16 October,2025
Ethan Hawke returns in this eerie sequel that dives deeper into the ghostly voices beyond the line—because some calls should never be answered.
Sub-Genre: Sci-Fi Horror/Creature Feature
Release Date: 6 November,2025
Set in a desolate frontier town, this chapter strips the tech and turns primal, delivering a raw, survivalist showdown with the galaxy’s deadliest hunter.
Sub-Genre: Animatronic/Survival Horror
Release Date: 4 December 2025
The cult video game adaptation returns with even more twisted animatronics and deeper lore—because one night was never going to be enough.
Sub-Genre: Creature Horror/Nature Survival
Release Date: 25 December, 2025
The legendary snake slithers back onto the big screen in a high-stakes reboot that promises bigger thrills, bloodier hunts, and a whole lot more hiss.
Sources: Rotten Tomatoes, IMDb, Cinemblend
The Saudi Box Office demonstrated remarkable resilience in April 2025, generating SAR113.1 million in revenue with local production ‘Shabab EL Bomb’ capturing 20% market share
The Saudi cinema market demonstrated remarkable resilience in April 2025, generating SAR113.1 million in total box office revenue despite typical post-holiday adjustments, according to the latest data released by the Ministry of Culture. This performance culminated in strong upward momentum, with the final week recording SAR21.4 million in revenue—a 26.6% increase from the previous week, signaling sustained consumer engagement across the cinema exhibition sector.
According to Gower Street Analytics, this acceleration aligns with the international box office (excluding China), which recorded the highest grossing month since December 2024 ($2.8 billion) with an April total of $2.1 billion—representing a 36% increase over April last year. Internationally, ‘Minecraft Movie’ and ‘Sinners’ powered the box office where there were still gaps expected to be filled in May with a denser, IP-driven, high-profile, and diverse schedule. However, the Saudi market demonstrated a distinctive strength by filling these same programming gaps with regional content, as evidenced by the exceptional performance of multiple Arabic productions.
This regional content advantage is exemplified by the Saudi production ‘Shabab EL Bomb 2,’ which emerged as the undisputed market leader, maintaining the top position for three consecutive weeks and amassing SAR 24.9 million across 537,300 admissions. This single title accounted for over 20% of the month’s total box office revenue, highlighting the growing influence and commercial viability of regional content within the Saudi cinema ecosystem.
Ministry data reveals a classic market recovery pattern throughout April, with weekly revenue stabilizing after an exceptionally strong start. The month began with SAR39.6 million during the week of March 30-April 5 (Eid Al-Fitr holidays), before adjusting to SAR 19.7 million in the second week. This adjustment phase subsequently gave way to a period of steady improvement, with revenues ultimately climbing to SAR 21.4 million in the closing week of April 27-May 3.
The Hollywood action thriller ‘A Working Man’ also delivered a strong performance with SAR 17.4 million and 318,200 admissions, reinforcing the region’s demonstrated preference for international action titles. ‘A Minecraft Movie’ established a solid franchise foundation with SAR 17.3 million across 361,800 admissions over five weeks, highlighting the market’s expanding capacity to sustain diverse content simultaneously.
Several releases exhibited notable growth patterns worth examining. ‘Asaf’ demonstrated consistent week-over-week box office increases, culminating in SAR 7.9 million from 152,300 admissions. Illustrating the effectiveness of strategic release planning in the Saudi market, ‘Siko Siko’ implemented an effective slow-build distribution strategy, starting modestly before gaining significant market traction in its second week to reach SAR 5.0 million from 90,700 admissions.
Marvel’s ‘Thunderbolts’ entered the market in the final week of April with SAR 3.4 million from 55,400 admissions, with industry projections suggesting continued momentum based on strong critical reception and established franchise appeal.
Data from Motivate Val Morgan’s proprietary cinema intelligence platform for advertisers CineMeasure reveals substantial audience engagement across our circuit, with 1.81 million admissions recorded between March 27 and April 30 2025. This audience represents premium consumer segments with demonstrated purchasing power and heightened brand receptivity within the distraction-free cinema environment.
Our detailed analytics identify significant opportunities within premium viewing experiences, which continue gaining substantial market share. Luxury screens accounted for 8% of total admissions, providing brands unprecedented access to high-net-worth consumers in receptive environments. Further enhancing this premium segment, experience formats such as IMAX and Dolby contributed 14% of admissions—collectively catering to diverse tiers of already-affluent moviegoers. All of these create targeted engagement opportunities for precision marketing initiatives.
The established box office trajectory, combined with the acceleration potential of both Eid al-Adha and the subsequent summer blockbuster calendar, creates unprecedented opportunities for brands seeking meaningful consumer engagement in an increasingly fragmented media landscape.
The regional exhibition sector including Saudi is poised to enter its most commercially productive period of 2025. This critical revenue window begins with Eid al-Adha celebrations in early June—historically generating 2.5-3x normal weekly admissions—and continues through the summer months with a strategically diversified content pipeline.
The seasonal slate balances culturally-relevant Arabic productions including ‘Restart,’ ‘F1,’ ‘Ahmed W Ahmed,’ and ‘Darwish’ with tentpole Hollywood franchise entries such as ‘Mission: Impossible – The Final Reckoning,’ ’28 Years Later,’ ‘Superman ‘Jurassic World Rebirth’ and more—creating multiple strategic entry points for targeted advertising initiatives.
This powerful convergence of holiday timing, premium audience demographics, and diversified content offerings positions the Saudi and regional cinema market for exceptional growth through Q2-Q3 2025. The guaranteed audience concentration during these peak periods reinforces cinema’s status as the region’s dominant exhibition platform and an advertising medium that never misses its audience.
Sources: Saudi Ministry of Culture, CinePlan and CineMeasure
A recent WARC article discusses a conversation featuring advertising legend Sir John Hegarty on The Multiplier Effect report – produced through collaboration between WARC, System1, BERA.ai, Prophet, and Analytic Partners – about the kind of advertising that makes performance marketing truly effective. The discussion delivered compelling evidence that challenges contemporary marketing wisdom.
The research spells out the dangers of advertisers focusing solely on performance advertising. The findings reveal that advertisers balancing brand-building with performance marketing achieve a remarkable 90% higher revenue ROI than their performance-only counterparts. More alarming still, brands focusing exclusively on performance tactics suffer a 40% decrease in ROI—what researchers aptly term the “performance penalty.”
Hegarty, the creative visionary behind countless iconic campaigns, frames this balance through two distinct approaches: “Showmanship” and “Salesmanship.” This terminology brilliantly clarifies the role each plays in effective marketing. He ties this to neuropsychological findings, particularly the work of Iain McGilchrist on attention modes. Showmanship captures what McGilchrist calls “broad-beam attention” through the right hemisphere of the brain—the part processing narrative, metaphor, and social context, remaining open to novelty and the unexpected.
Salesmanship, in contrast, mirrors the “narrow-beam” preferences of the left hemisphere—focusing on specific targets, details, and goals. It speaks to consumers already moving toward purchase, pushing them toward certainty. While both attention modes are essential, they function through fundamentally different neural pathways.
In short, the report reveals a critical insight often overlooked in today’s metrics-obsessed marketing landscape: at any given moment, only 5% of your audience is actively considering a purchase. Performance marketing effectively targets this 5%, but remains virtually invisible to the other 95%. Without Showmanship creating emotional connections with this broader audience, brands essentially sever their future customer pipeline. As Hegarty memorably puts it, “You can’t buy something you’ve never heard of.”
Within a balanced marketing strategy, cinema offers a particularly powerful channel for the Showmanship aspect that Hegarty identifies as critical. The theatrical environment of cinema creates a rare and powerful space in today’s fragmented media landscape—one perfectly calibrated to activate the right brain’s broad-beam attention that drives long-term brand building.
When audiences enter a cinema, they’re not just watching content—they’re experiencing a performance. The darkened theater, commanding screen, and immersive sound create an environment where advertising reaches consumers without the competition of scrolling, skipping, or multitasking. This captive attention allows brands to tell emotional stories that forge mental connections impossible to achieve through many other channels.
Cinema advertising excels precisely at what Hegarty identifies as essential for effective Showmanship: getting brands “noticed, liked and remembered.” The big screen naturally amplifies creativity that drives cultural relevance—another key factor The Multiplier Effect identifies for sustained growth.
What makes cinema particularly valuable as part of today’s marketing ecosystem is its ability to complement performance-focused channels. Through its immersive theatrical experience, cinema powerfully connects with the crucial 95% of consumers not actively in the buying window. Yet unlike some traditional brand-building channels, modern cinema also offers sophisticated accountability and measurement capabilities that satisfy performance-minded marketers.
By incorporating cinema’s distinctive Showmanship capabilities into a balanced marketing strategy, brands can help escape the ‘performance doom loop’ identified in this WARC report. In a marketing landscape that requires both short-term results and long-term brand building, cinema offers a powerful stage where brands can create the emotional connections and mental availability that make all future marketing more effective.
Read the full article on WARC (membership required)
Sixteen UAE jury members will collaborate closely with awarding jurors from across the globe to recognize and honor outstanding creative work at the 2025 Cannes Lions Festival of Creativity
Cannes Lions has unveiled the cohort of global experts selected to award the world’s finest creative and effective work, setting the standard for excellence this June at the Cannes Lions Festival of Creativity. Among the distinguished jury members announced, this year will feature sixteen representatives from the United Arab Emirates, marking the nation’s strongest representation ever at the industry’s most celebrated awards.
The 72nd edition of Cannes Lions, running from June 16 to 20, 2025, will showcase the UAE’s growing influence on the global creative stage as these exceptional professionals prepare to set new benchmarks for excellence during the Festival.
Commenting on the Jury, Simon Cook, CEO of LIONS, said: “The Cannes Lions Awarding Jury plays a vital role in setting the global benchmark for creative excellence. This year’s line-up brings together some of the most highly respected and accomplished industry talent from around the world. Their expertise will help define the creative standards that continue to drive our industry forward and spotlight the power of creativity as a catalyst for meaningful business growth and transformation.“
Regarding the record UAE representation, Ian Fairservice, Managing Partner of Motivate Media Group, said, “Having our largest-ever UAE representation on the Cannes Lions awarding jury is a remarkable achievement for our creative community. I am sure their diverse expertise will make a significant contribution to the global creative dialogue. Their selection reflects the UAE’s growing influence and our commitment to excellence, and demonstrates the creative caliber and thought leadership emerging from this region on the international stage.”
Audio & Radio Lions:
Leila Katrib | Global Executive Creative Director, Incubeta, Global
Brand Experience & Activation Lions:
Natalie Shardan | Managing Partner, Serviceplan Middle East, UAE
Creative Business Transformation Lions:
Fabio Silveira | Managing Director, Havas, Middle East
Creative Data Lions:
Karim ElFiqi | SVP and Chief Marketing Officer, PepsiCo, Africa, Middle East, and South Asia
Creative Effectiveness Lions:
Dani Richa | Group Chairman, Impact BBDO, UAE
Design Lions:
Dida Atassi | Managing Director, Creative Account Lead for Design & Digital Products, Accenture Song, UAE
Digital Craft Lions:
Paulo Engler | Senior Creative Director and Head of Art, FP7 McCann, UAE
Direct Lions:
Aricio Fortes | Chief Creative Officer, VML, UAE
Film Lions:
Manasvi Gosalia | Executive Producer, Dejavu, UAE
Health & Wellness Lions:
João Camacho | Executive Creative Director, Saatchi Wellness ME, KSA and Turkey, MEA
Industry Craft Lions:
Lara Assouad | Executive Creative Director, Landor, Middle East
Innovation Lions:
Seyoan Vela | Chief Creative Officer, Livingroom/LRDXB, MENA
Media Lions:
Ramzy Abouchacra | Media Practice President, Dentsu, MENA
Pharma Lions:
Alok Gadkar | CEO and Chief Creative Officer, Tuesday, UAE
PR Lions:
Khaled AlShehhi | Executive Director of Marketing and Communication, UAE Government Media Office, UAE
Sustainable Development Goals Lions:
Vidya Manmohan | Founder and Chief Creative Officer, V4Good, Global
With shortlisting jury line-up to be announced soon, see the full list of Global Presidents and Awarding Juries here.
Further information on this year’s Festival and the Lions Awards can be found at visit www.canneslions.com
Motivate Media Group and Motivate Val Morgan are the official representatives of the Cannes Lions International Festival of Creativity in the UAE.
Source: Cannes Press Release
